My art recognizes the human place, the human context - especially in Britain, which is a landscape so worked by people for thousands of years, written, deeply ingrained with the presence of people.

People are the nature of the city, and you can feel it in the pavement.

It's just that when I work on someone else's land, it makes me aware of the social nature of that landscape.

People do not realise that many of my works are done in urban places. I was brought up on the edge of Leeds, five miles from the city centre-on one side were fields and on the other, the city.

If you repeat something, it can become pointless. Some things can repeat and be endlessly fascinating.

When I make a work, I often take it to the very edge of its collapse, and that's a very beautiful balance.

Winter makes a bridge between one year and another and, in this case, one century and the next.